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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
CHAMBER REVIEW
Trio Navarro / Sunday, November 06, 2011
Trio Navarro: Roy Malan, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano

Sonoma State University's Trio Navarro

BRIDGE AND TURINA WORKS SPARKLE IN TRIO NAVARRO CONCERT AT SSU

by Terry McNeill
Sunday, November 06, 2011

An old musical friend was juxtaposed with two not-quite-so-old interlopers Nov. 6 when the venerable Trio Navarro opened their 2011-2012 season at Sonoma State University’s Green Music Center 1028. Mendelssohn’s iconic D Minor Trio was the old shoe and Trios by Bridge and Turina were the unfamiliar fare.

In a surprise program alignment the rarely-played Bridge C Minor Fantasie Trio and Turina’s Op. 35 Trio comprised the long second half, and both works are episodic and difficult to get to know in a single hearing. The Turina, from 1926 and written in a style that combines Spanish elements with arguably early 20th Century French style, received a strong performance led at the outset by violinist Roy Malan’s penetrating high register. The rhapsodic nature changed quickly in the following Theme and (5) Variations to a more somber tone. Mr. Malan alternated bright pizzicato phrases with cellist Jill Brindel, combined with intriguing rhythmic syncopations. Pianist Marilyn Thompson deftly played the jazz-influenced Basque dance (zortziko) in the third variation, the obverse to the murmuring pianissimo ending in the strings.

The Trio attached the concluding movement aggressively, the piano part marching up and down the keyboard and heralding themes from the preceding movements.

Bridge’s first Trio (Fantasie) dates from 1908 and is in a single movement. The Navarro’s quick and impulsive opening set the stage for the rich but often darkly-tines melodic lines from the cello and violin, the specter of Faure not far away. The ensemble was particularly good in the swirl of notes, Ms. Thompson pushing the pace. The noble second theme was elegantly played by Ms. Brindel with a broad vibrato and subtle ritards are phrase endings. On either side of the beguiling central Andante the performance sparkled and often surged. It was music in a performance that was optimistic when compared to the intricate Turina.

The concert began with the first Mendelssohn Trio, Op. 49, perhaps the most played work now before the public for this combination of instruments. The performance was dedicated by Ms. Brindel to the memory of her mother who had died the previous day. In the opening Molto allegro ed agitato with its extended patrician cello solo the chosen approach was slow and lyrical, lacking the usual speed and snap that characterizes much of the music. Mr. Malan’s tone and projection, soaring during the Turina and Bridge, was here often covered by Ms. Brindel in a venue that seems to love low frequencies. Ms. Thompson, a consummate chamber music pianist, chose clarity over drama and never covered her partners. It was playing of refinement and proportion but lacked energy.

In the lyrical Andante the tempo was again relaxed with subtle voice leading from the pianist and cellist, and Ms. Thompson varying the character of the repeats with discerning dynamic changes. The charming Scherzo, always a crowd pleaser, found Mr. Malan making small portamento to lovely effect. In the concluding rondo (Allegro) Ms. Brindel dug deep, projecting a bass line to compliment the galloping scales from the pianist. Missing in the sonic balance were some of the sforzando outbursts, especially from the piano part, that add spice and make this revered work feel like a welcome acquaintance.

Mention needs to be made of the room's piano, celebrating its 100th birthday and a favorite instrument of Ms. Thompson. There is captivating music coming in the piano’s next century, and plenty of life in the old girl yet.